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diff --git a/42147-h/42147-h.htm b/42147-h/42147-h.htm index d877b61..26ffb40 100644 --- a/42147-h/42147-h.htm +++ b/42147-h/42147-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> Louise Chandler Moulton, by Lilian Whiting. A Project Gutenberg eBook. @@ -121,47 +121,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Louise Chandler Moulton, by Lilian Whiting - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Louise Chandler Moulton - Poet and Friend - -Author: Lilian Whiting - -Release Date: February 21, 2013 [EBook #42147] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LOUISE CHANDLER MOULTON *** - - - - -Produced by Peter Vachuska, Chris Curnow, Linda Cantoni, -and the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -</pre> - - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42147 ***</div> <p class="centerbp"><b><a href="#CONTENTS">CONTENTS</a></b><br /> <b><a href="#ILLUSTRATIONS">ILLUSTRATIONS</a></b></p> @@ -202,7 +162,7 @@ Published, September, 1910<br /> <div class="illo" style="width: 439px"> <p class="border"><a id="FRONT"></a><img src="images/front.jpg" width="439" height="500" alt="Louise Chandler Moulton" title="Louise Chandler Moulton" /></p> -<p class="center"><span class="smcap">Louise Chandler Moulton, æt. 20</span></p> +<p class="center"><span class="smcap">Louise Chandler Moulton, æt. 20</span></p> <p class="pg"><i>Frontispiece</i></p> </div> @@ -234,7 +194,7 @@ Published, September, 1910<br /> <table style="width: 100%" border="0" cellpadding="10" cellspacing="0" summary="illustrations"> <tr> -<td>Louise Chandler Moulton, æt. 20<br /> +<td>Louise Chandler Moulton, æt. 20<br /> <span class="ind msm">From a daguerreotype.</span></td> <td class="right vat"><i><a href="#FRONT">Frontispiece</a></i></td> </tr> @@ -248,7 +208,7 @@ Published, September, 1910<br /> <td class="right vat"><a href="#Page_5">5</a></td> </tr> <tr> -<td>Louise Chandler Moulton, æt. 18<br /> +<td>Louise Chandler Moulton, æt. 18<br /> <span class="ind msm">From a daguerreotype containing a slip of paper upon which Mrs. Moulton had written,</span><br /> <span class="ind msm">"Taken in Boston the day I @@ -1208,7 +1168,7 @@ the fair of our own locality for more distant Connecticut."</p></div> <div class="illo" style="width: 372px"> <p class="border"><img src="images/moulton18.jpg" width="372" height="500" alt="Moulton age 18" title="Moulton age 18" /></p> -<p class="center"><span class="smcap">Louise Chandler Moulton, æt. 18</span></p> +<p class="center"><span class="smcap">Louise Chandler Moulton, æt. 18</span></p> <p class="pg"><i>Page 34</i></p> </div> @@ -1286,7 +1246,7 @@ beautiful poem.'</p> Longfellow and Dr. Holmes to me, a new-comer into their world. I knew Ralph Waldo Emerson, also. The very last time I saw him he had just returned from California, and he -crossed the Athenæum Library, where we chanced to be, to ask +crossed the Athenæum Library, where we chanced to be, to ask me if I had ever been there myself and had seen the big trees. 'Why,' he said, 'it took thirteen horses to go round one tree, the head of one touching the tail of another—what @@ -1320,7 +1280,7 @@ memory that has never left me."</p></div> <p>Boston in the fifties had little to boast of in the artistic line. Henry James, writing of Hawthorne's time, noted with amusement the devotion to the "attenuated outlines" of Flaxman's drawings. The -classic old Athenæum contained practically all that the city could +classic old Athenæum contained practically all that the city could offer in the way of art. Here were some casts from antique marbles, specimens of the work of Greenough and Thorwaldsen, a certain number of dull busts of interesting men, a supply of engravings, and a small @@ -1362,7 +1322,7 @@ pathos."</p> life none was of personality more striking than Mrs. Sarah Helen Whitman, whose connection with Poe was at once so touching and so tragic. "No person ever made on me so purely spiritual an impression," -wrote Mrs. Moulton in <i>The Athenæum</i> in after years, "as did Mrs. +wrote Mrs. Moulton in <i>The Athenæum</i> in after years, "as did Mrs. Whitman. One of her friends said of her: 'She is nothing but a soul with a sweet voice.'" Some of the poems signed "Ellen Louise" had attracted the attention of Mrs. Whitman, and a correspondence @@ -2237,7 +2197,7 @@ and in thy letter leads me to infer that thy sojourn there has not been a happy one. Of course I do not speak of unalloyed happiness,<span class="pagenum"><a name="Page_73" id="Page_73">-73-</a></span> for that can only come of entire exemption from sin and weakness. A passage which I have been -reading this morning from Thomas à Kempis has so spoken to +reading this morning from Thomas à Kempis has so spoken to my heart that I venture to transcribe it:</p> <p>"What thou canst not amend in thyself or others, bear with @@ -2286,7 +2246,7 @@ During a visit to New York, she was one evening just dressed for a festivity which she was to attend with her hostess, when the card of Horace Greeley was brought to her. She went down at once, and Mr. Greeley, who probably would not have noted any difference between a -ball-gown and a negligé did not in the least appreciate that she was +ball-gown and a negligé did not in the least appreciate that she was evidently dressed for a social function. When her hostess came to call her, Mrs. Moulton signalled that she was to be left, and passed the evening in conversation so interesting and so animated<span class="pagenum"><a name="Page_75" id="Page_75">-75-</a></span> that Mr. @@ -2484,7 +2444,7 @@ worthy the attention of the world."</p></div> <p>Mrs. Moulton's real introduction to London did not come this year, but in the summer of 1877, when a breakfast was given in her honor by Lord Houghton (Richard Monckton Milnes), at which the guests included -Browning, Swinburne, George Eliot, Jean Ingelow, Gustave Doré, and +Browning, Swinburne, George Eliot, Jean Ingelow, Gustave Doré, and others of only less distinction. The breakfast was followed by a reception<span class="pagenum"><a name="Page_83" id="Page_83">-83-</a></span> at which, in the society phrase, the guest of honor met everybody.</p> @@ -2557,7 +2517,7 @@ lasted till the end."</p></div> <p>The poetry of Swinburne had for her a fascination from the first, and she was attracted also by the personality of the poet. Writing an article upon a new volume of his, she submitted the copy to him before -publishing it in the <i>Athenæum</i>. His acknowledgment was as follows:</p> +publishing it in the <i>Athenæum</i>. His acknowledgment was as follows:</p> <p><span class="pagenum"><a name="Page_86" id="Page_86">-86-</a></span></p> @@ -2588,7 +2548,7 @@ which convey it.</p> <p>Leaving London in August, 1876, Mrs. Moulton went with Kate Field to visit Lawrence Hutton and his mother, who had a house for the summer in Scotland. In September, in company with Dr. Westland Marston, his -son and daughter, and Miss Hardy, she made a visit to Étretat. The +son and daughter, and Miss Hardy, she made a visit to Étretat. The place and<span class="pagenum"><a name="Page_87" id="Page_87">-87-</a></span> the company made a combination altogether delightful. An entry in her diary for this time, of which the date is merely "Midnight of September 1," records her enthusiasm.</p> @@ -2608,7 +2568,7 @@ mocking the fair night with the gloom of his presence. I never saw such grand effects.</p> <p>"We climbed a long hill, and from thence we looked down on -little Étretat lying below us, with the lights in its many +little Étretat lying below us, with the lights in its many windows, and the sea tossing beyond it white with spray and with moonlight. The trees were quivering at the whispers of a low wind, and still above all the clouds held strange @@ -2651,7 +2611,7 @@ close my eyes and see again sea and sky and dear faces; hear again the waves break on this wild coast of Normandy, with the passion of their immortal pain and longing."</p></div> -<p>This stay in Étretat was further commemorated in her poem of that +<p>This stay in Étretat was further commemorated in her poem of that title. Dr. Marston, too, felt the spell of the place and company, and addressed to her this sonnet:</p> @@ -2681,10 +2641,10 @@ Untombed and unforgotten, though he die.<br /> </table> <p>The succeeding winter Mrs. Moulton passed in Paris. Here as in London -she met many of the most interesting people of the day. With Stéphane -Mallarmé especially she formed a close friendship, and through him she +she met many of the most interesting people of the day. With Stéphane +Mallarmé especially she formed a close friendship, and through him she came to know the chief men of the group called at that time the -"<i>Décadents</i>" of which he was the leader. Mallarmé was at this time +"<i>Décadents</i>" of which he was the leader. Mallarmé was at this time professor of English in a French college, and his use of that language afforded Mrs. Moulton some amusement. "He always addressed me in the third person," she related, "and he made three syllables of @@ -2692,13 +2652,13 @@ third person," she related, "and he made three syllables of however, a great comfort and pleasure to me, and I saw a great deal of him and of his wife that winter. I used to dine with them at their famous Tuesdays, and meet the adoring throng that came in after -dinner. Often he and Madame Mallarmé would saunter with<span class="pagenum"><a name="Page_91" id="Page_91">-91-</a></span> me about the +dinner. Often he and Madame Mallarmé would saunter with<span class="pagenum"><a name="Page_91" id="Page_91">-91-</a></span> me about the streets of Paris. It was then that I first made acquaintance with the French dolls,—those wonderful creations which can bow and courtesy and speak, and are so much better than humans that they always do the thing they should. Whenever we came to a window where one of these lovely creatures awaited us, I used to insist upon stopping to make -her dollship's acquaintance, until I fear the Mallarmés really +her dollship's acquaintance, until I fear the Mallarmés really believed that these dolls were the most alluring things in life to me. But the winter,—crowded for me with the deepest interests and delights in meeting the noted men of letters and many of the greatest @@ -2706,14 +2666,14 @@ artists, and of studying that new movement in art, Impressionism, which was destined to be so revolutionary in its influence,—at last this wonderful winter came to an end, and I was about to cross the Channel once more. Full of kindly regrets came Monsieur and Madame -Mallarmé to pay me a parting call. 'We have wishéd,' began the poet, +Mallarmé to pay me a parting call. 'We have wishéd,' began the poet, mustering his best English in compliment to the occasion, 'Madame and -I have wishéd to make to Madame Moulton a souvenir for the good-bye, -and we have thought much, we have consideréd the preference beautiful -of Madame, so refinéd; and we do reflect that as Madame is pleaséd to<span class="pagenum"><a name="Page_92" id="Page_92">-92-</a></span> -so graciously the dolls of Paris like, we have wishéd to a doll +I have wishéd to make to Madame Moulton a souvenir for the good-bye, +and we have thought much, we have consideréd the preference beautiful +of Madame, so refinéd; and we do reflect that as Madame is pleaséd to<span class="pagenum"><a name="Page_92" id="Page_92">-92-</a></span> +so graciously the dolls of Paris like, we have wishéd to a doll present her. Will Madame do us the pleasure great to come out and -choose with us a doll, <i>très jolie</i>, that may have the pleasure to +choose with us a doll, <i>très jolie</i>, that may have the pleasure to please her?'"</p> <p>It would be a pleasure to record that Mrs. Moulton accepted the gift. @@ -2724,7 +2684,7 @@ no; please. I should be laughed at. Please let it be something else." And the guests retired pensive, to return next day with a handsome Japanese cabinet as their offering. "And I have pined ever since," Mrs. Moulton added smilingly, when she told the story, "for the -Mallarmé doll that might have been mine."</p> +Mallarmé doll that might have been mine."</p> <p>In 1877 the Macmillans brought out Mrs. Moulton's first volume of poems under the title "Swallow Flights," the name being taken from @@ -2751,7 +2711,7 @@ expression with the same depth and tenderness of simple feeling.... 'One Dread' might have been penned by Sir Philip Sidney."</p></div> -<p>The <i>Athenæum</i>, always chary of overpraise, declared:</p> +<p>The <i>Athenæum</i>, always chary of overpraise, declared:</p> <div class="blockquot"> <p>"It is not too much to say of these poems that they exhibit @@ -2821,7 +2781,7 @@ of the writer is in no way more strongly evinced than by the subtlety and suggestiveness of her ideas."</p></div> <p>The reviewers of note on both sides of the Atlantic were unanimous in -their praise. In a time of æsthetic imitation she came as an +their praise. In a time of æsthetic imitation she came as an absolutely natural singer. She gave the effect of the sudden note of a thrush heard through a chorus of mocking-birds and piping bullfinches. She was able to put herself into her work and yet to keep her poetry @@ -3021,7 +2981,7 @@ waited for half an hour to see you.' The fates were never kind enough to bring me within the poet's range again."</p></div> <p>On the death of Mrs. Sarah Helen Whitman in 1878, Mrs. Moulton wrote -of her in the London <i>Athenæum</i>. The admiration of Poe which exists in +of her in the London <i>Athenæum</i>. The admiration of Poe which exists in England, the romance of his<span class="pagenum"><a name="Page_101" id="Page_101">-101-</a></span> relations with the "Helen" of his most beautiful poem, made the article especially timely; and from her acquaintance and her warm friendship for Mrs. Whitman, Mrs. Moulton @@ -3084,14 +3044,14 @@ from the family Bible:—</p> <p>Mr. Longfellow wrote to thank Mrs. Moulton for her paper on Mrs. Whitman, and at no great interval he wrote again in acknowledgment of -an article upon his own poetry also in the <i>Athenæum</i>.</p> +an article upon his own poetry also in the <i>Athenæum</i>.</p> <div class="blockquot"> <p class="center"><i>Mr. Longfellow to Mrs. Moulton</i></p> <p class="right"><span class="smcap">Cambridge</span>, May 17, 1879.</p> -<p><span class="smcap">Dear Mrs. Moulton</span>: For your kind words in the <i>Athenæum</i>, +<p><span class="smcap">Dear Mrs. Moulton</span>: For your kind words in the <i>Athenæum</i>, how shall I thank you? Much, certainly, and often,—but more and more for your kind remembrance, and the pleasant hours we passed together before your departure.</p> @@ -3254,7 +3214,7 @@ Where all they be who from that cup have quaffed.<br /> </tr> </table> -<p>And among the rare books was a copy of Stéphane Mallarmé's translation +<p>And among the rare books was a copy of Stéphane Mallarmé's translation of Poe's "Raven," with illustrations by Manet, the work being the combined gift to Mrs. Moulton of the poet-translator and the artist.</p> @@ -3649,7 +3609,7 @@ delight; Mrs. Kate Gannett Wells, Mrs. Julia Ward Howe, or her daughter, Mrs. Maud Howe Elliott; Mrs. Harriet Prescott Spofford; Mrs. Julius Eichberg and her brilliant daughter, Mrs. Anna Eichberg King (now Mrs. John Lane of London),—these and many others of her Boston -circle who were habitués of her "Fridays," and seldom, indeed, was one +circle who were habitués of her "Fridays," and seldom, indeed, was one of these receptions without some guests of special distinction who were visiting Boston. On one occasion it was Mr. and Mrs. Edmund Gosse of London; or again, Matthew Arnold; W.D. Howells was to be met there @@ -4381,7 +4341,7 @@ sonnet commencing,</p> <p>"Finished <i>Herald</i> letter. Mr. F.W.H. Myers called. Lunched at Walter Pater's and met M. Gabriel Sarrazin, the French critic, who told me that Guy de Maupassant thought the three -disgraces for a French author were to be <i>décoré</i>, to belong +disgraces for a French author were to be <i>décoré</i>, to belong to the Academy, and to write for the <i>Revue des Deux Mondes</i>."</p> @@ -5426,7 +5386,7 @@ Mrs. Moulton by sending her a photograph which was not genuine.</p> <p class="center"><i>M. Germain to Mrs. Moulton</i></p> <p class="right"><span class="smcap">Monastery of Ste. Barbe,<br /> -Seine Inférieure, France.</span></p> +Seine Inférieure, France.</span></p> <p><span class="smcap">Madame</span>: It is in sincere gratitude that I tender you my thanks for your kind words about the photograph which I had @@ -5546,7 +5506,7 @@ Now why should I not write for them an article on your poems? They tell me they will faithfully translate all I send. Your informant was right. I am French only on one side of the house. Lest I may forget, I want to say here and now -how much I like your "At Étretat." I should have known it +how much I like your "At Étretat." I should have known it meant that place, even without the title. The picture is so vivid. Do you know the Riviera? There is material for you in grays and browns, and the sound of the sea. But I think the @@ -5765,7 +5725,7 @@ ballads belong here. Wordsworth, Scott, and Burns, and many song-writers have given their passion to this country-side, where one has such joy as the best dreams are made of."</p> -<p>"In a cover somewhat like this paper in tone 'Stéphanie' +<p>"In a cover somewhat like this paper in tone 'Stéphanie' presents herself to you.... We have the audacity to think it is nearly as well woven as one of the William Morris carpets. We have taken ten years over the ten pages."</p></div> @@ -6054,7 +6014,7 @@ don't care for large receptions, though I do go to them sometimes; I enjoy dinners, if I am by the right person. But I refuse ten invitations to every one I accept, and the thing I most and really care for in all the world is the love of congenial friends and quiet, -intimate tête-à-tête with them. The superficial, external side of life +intimate tête-à -tête with them. The superficial, external side of life is nothing to me. I long for honest and true love as a child set down in a desert might long for the mother's sheltering arms."</p> @@ -7487,7 +7447,7 @@ such a man is praise indeed!</p> <p>I had such an interesting time at your house, meeting such interesting people, but what I wanted most was a -<i>tête-à-tête</i> with my interesting hostess. I always want to +<i>tête-à -tête</i> with my interesting hostess. I always want to know you better.</p> <p>Believe me, dear Mrs. Moulton,</p> @@ -8216,9 +8176,9 @@ Field, Richard Garnett, Richard Watson Gilder, Robert Grant, Edmund Gosse, Louise Imogen Guiney, Thomas Wentworth Higginson, H. Rider Haggard, John Hay, William Ernest Henley, Oliver Wendell Holmes, Lord Houghton, Henry James, Amy Levy, Lady Lindsay, Frederick Locker, James -Russell Lowell,<span class="pagenum"><a name="Page_283" id="Page_283">-283-</a></span> Stéphane Mallarmé, Joaquin Miller, George Moore, +Russell Lowell,<span class="pagenum"><a name="Page_283" id="Page_283">-283-</a></span> Stéphane Mallarmé, Joaquin Miller, George Moore, Felix Moscheles, the Hon. Roden Noel, Thomas Nelson Page, John Payne, -Nora Perry, Mr. and Mrs. James B. Piatt, James Whitcomb Riley, Amélie +Nora Perry, Mr. and Mrs. James B. Piatt, James Whitcomb Riley, Amélie Rives, C.G.D. Roberts, Christina Rossetti, William Sharp, Harriet Prescott Spofford, Edmund Clarence Stedman, Algernon Charles Swinburne, Bayard Taylor, John T. Trowbridge, Mrs. Humphry Ward, @@ -8438,10 +8398,10 @@ Bourke Marston from his godmother, D.M.C., Aug. 13, 1866.' Dinah Mulock Craik's poem to her godson, 'Philip, my King,' is well known, and is alluded to in one of the inscriptions which I have already quoted. Mr. Marston's godfather, Philip James Bailey, bestowed upon -him a copy of 'Festus,' with the inscription: '<i><span lang="fr" xml:lang="fr">Ce livre donné -affectueusement par l'auteur à son cher filleul Philippe Bourke -Marston, qui a déjà par son propre genie étendue la renommée -patronymique, est accompagné des voeux les plus sincères pour la santé +him a copy of 'Festus,' with the inscription: '<i><span lang="fr" xml:lang="fr">Ce livre donné +affectueusement par l'auteur à son cher filleul Philippe Bourke +Marston, qui a déjà par son propre genie étendue la renommée +patronymique, est accompagné des voeux les plus sincères pour la santé et pour son bonheur.</span></i>' Just why French should be used in this connection is not evident, and perhaps I am not justified in feeling that 'Festus' Bailey was perhaps not without a secret pride in being @@ -8478,7 +8438,7 @@ distinguished persons.</p> <hr class="med" /> <p>The place of Louise Chandler Moulton as a writer is assured. The words -of the <i>London Athenæum</i> in its memorial notice may be said to sum up +of the <i>London Athenæum</i> in its memorial notice may be said to sum up the matter with entire justice when it said that her work "entitles her to her recognized position as the first poet, among women," in America, from the fact that her verse possesses "delicate and rare @@ -8526,383 +8486,6 @@ without note, and illustrations have been moved to the nearest paragraph break.</p> </div> - - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Louise Chandler Moulton, by Lilian Whiting - -*** END OF THIS PROJECT GUTENBERG EBOOK LOUISE CHANDLER MOULTON *** - -***** This file should be named 42147-h.htm or 42147-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/1/4/42147/ - -Produced by Peter Vachuska, Chris Curnow, Linda Cantoni, -and the Online Distributed Proofreading Team at -http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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